Falstaft

What a treat. Only strengthens my opinion that TROS is the best musical entry in the sequel Trilogy. Not just the thematic variants (though those are great too). It's all about the transitions!:
 
*The way the Force theme in Dm is flanked, first by that beautiful dissonant texture that seems to coalesce on a E♭-maj pandiatonic cluster, then a post half-cadential sustain on the ♭II(ma7) chord (also E♭). Both bookending sections have a nice rising line [G3-C4-D4-G4 before, G3-A3-D4-Eb4 after]. Kind of Mountain Motif from CE3K-esque.
 
*The little idea starting at 0:28 in B-major. That quick progression, B to Bdim7 back to B, is a crucial harmonic ingredient in the Friendship Theme that comes a few minutes later.
 
*The interstitial material after Rey's theme gives us, for the first time I think in a long while in Star Wars, that wonderful Waltonian harmonic sensibility. Chords are Bma7/A♯ <=> D♭/G♭ => E♭ma7/B♭ => D♭ma7/B♭ => C/G. There are a few other patches where Williams re-channels Walton in TROS and it's just so satisfying to hear that sound return.

What a treat. Only strengthens my opinion that TROS is the best musical entry in the sequel Trilogy. Not just the thematic variants (though those are great too). It's all about the transitions!:
 
*The way the Force theme in Dm is flanked, first by that beautiful dissonant texture that seems to coalesce on a E♭-maj pandiatonic cluster, then a post half-cadential sustain on the ♭II(ma7) chord (also E♭). Both bookending sections have a nice rising line [G3-C4-D4-G4 before, G3-A3-D4-Eb4 after]. Kind of Mountain Motif from CE3K-esque.
 
*The little idea starting at 0:28 in B-major. That quick progression, B to Bdim7 back to B, is a crucial harmonic ingredient in the Friendship Theme that comes a few minutes later.
 
*The interstitial material after Rey's theme gives us, for the first time I think in a long while in Star Wars, that wonderful Waltonian harmonic sensibility. Chords are Bma7/A♯ <=> D♭/G♭ => E♭ma7/B♭ => D♭ma7/B♭ => C/G. There are a few other patches where Williams re-channels Walton in TROS and it's just so satisfying to hear that sound return.

What a treat. Only strengthens my opinion that TROS is the best musical entry in the sequel Trilogy. Not just the thematic variants (though those are great too). It's all about the transitions!:
 
*The way the Force theme in Dm is flanked, first by that beautiful dissonant texture that seems to coalesce on a E♭-maj pandiatonic cluster, then a post half-cadential sustain on the ♭II(ma7) chord (also E♭). Both bookending sections have a nice rising line [G3-C4-D4-G4 before, G3-A3-D4-Eb4 after]. Kind of Mountain Motif from CE3K-esque.
 
*The little idea starting at 0:28 in B-major. That quick progression, B to Bdim7 back to B, is a crucial harmonic ingredient in the Friendship Theme that comes a few minutes later.
 
*The interstitial material after Rey's theme gives us, for the first time I think in a long while in Star Wars, that wonderful Waltonian harmonic sensibility. Chords are Bma7/A♯ <=> D♭/G♭ => E♭ma7/B♭ => D♭ma7/B♭ => C/G. There are a few other patches where Williams re-channels Walton in TROS and it's just so satisfying to hear that sound return.

What a treat. Only strengthens my opinion that TROS is the best musical entry in the sequel Trilogy. Not just the thematic variants (though those are great too). It's all about the transitions!:
 
*The way the Force theme in Dm is flanked, first by that beautiful dissonant texture that seems to coalesce on a E♭-maj pandiatonic cluster, then a post half-cadential sustain on the ♭II(ma7) chord (also E♭). Both bookending sections have a nice rising line [G3-C4-D4-G4 before, G3-A3-D4-Eb4 after]. Kind of Mountain Motif from CE3K-esque.
 
*The little idea starting at 0:28 in B-major. That quick progression, B to Bdim7 back to B, is a crucial harmonic ingredient in the Friendship Theme that comes a few minutes later.
 
*The interstitial material after Rey's theme gives us, for the first time I think in a long while in Star Wars, that wonderful Waltonian harmonic sensibility. Chords are Bma7/A♯ <=> D♭/G♭ => E♭ma7/B♭ => D♭ma7/B♭ => C/G. There are a few other patches where Williams re-channels Walton in TROS and it's just so satisfying to hear that sound return.

This is such a pretty cue! I need more!

Amazingly, no less than THREE different cues were written for this one short scene: 1M3 Nothing is Impossible, 1M9 Rey Wakes Up and 1M24 Meditation.
 
The final cut uses a combination of two (1M24 and 1M9).
 

 
The timings in the November 11 spreadsheet seem to match the final cut, so only 18 seconds of this cue ever got used. What a shame... and really makes one wonder how much other gold is sitting on a hard drive in Disney's vault gathering, er, dust.
 

 
1M24 Meditation ultimately scored the shot of Rey meditating, before the film transitions back into 1M9. Who knows if 1M24 originally went longer and covered the rest of the dialogue with Leia, considering two other cues were already recorded to cover that dialogue.
 
As for the earliest version of the cue, 1M3 Nothing Is Impossible? Well, fortuitously, it appears we can hear a snippet of that in the making-of doco!
 
It's wild that such a simple scene could end up with 3 different cues but it seems reel 1 was heavily restructured throughout post-production, constantly moving scenes around. Probably made JW's task all the more difficult, when so much of his Star Wars writing is transitional music between cues.
 
At various points in post-production, this scene followed the Luke and Leia flashback, then Kylo's first meeting with the Emperor, then finally the lightspeed skipping sequence.

Nice find!
 
I believe this may be the uncut 1M9 Rey Wakes Up. GEMA appears to show that’s the only cue used for this scene in the final cut, and 1M24 Meditation doesn’t actually show up until the next scene with Leia. 1M3 Nothing Is Impossible went completely unused.

Great discovery of the weekend!
While remembering the Blu-Ray menu gave us the clean version of the "Rey Training" cue which is unreleased, I wanted to see what the DVD menus had since those usually contain additional screens for the "Scene Selection" and "Language/Subtitles".
 
The amazing @crumbs found a complete DVD rip and we were able to find another previously unreleased cue, not featured on the Blu-Ray!!
 
It is the "Meditation" cue, featured in the "Scene Selection" menu:
 
tros-amp.mp3
 
 
Another DVD exclusive menu for the language setup comes with the section of "Reunion" that contains Rey & Yoda's Theme, which is on the OST, so no other unreleased music there.
 
This is all new information, right?

Not a reference or transformation of any other theme Indy as far as I can tell! Though fans of Ralph Vaughan Williams should enjoy a pang of recognition: 
 
 

Not a reference or transformation of any other theme Indy as far as I can tell! Though fans of Ralph Vaughan Williams should enjoy a pang of recognition: 
 
 

Cool thread!
 
I think Banning Back Home is a good choice. I think it was mentioned recently in another thread, but the inspiration was Dave Grusin "Mountain Dance," maybe with a little "New Hampshire Hornpipe" thrown in there too. "Padme's Ruminations" too, and the Tan Dun-esque percussion from "Chase Through Coruscant" probably deserves a shout out too. I hear what you're saying @Edmilson with Lesson One, though the string line is not so far from this bit from The Patriot:
 
 
There's ActionString(TM) stuff of his elsewhere in post-2000s scores. But where a RCP-type composer might just lay it down as a static ostinato, it almost immediately becomes a complex polyphonic texture in Williams's hands. Just look what happens to his little Zimmer-esque ostinati after one or two measures in BFG for instance:
 

It's hard for me to think of a cue from Williams in the past 35 years or so that genuinely feels "UnWilliams." Maybe some of the gyuto monk chanting in Seven Years in Tibet? Some of that thumping suspense music from Munich?
 

Classic!
 
 

You did have an advantage indeed 
Bravo nonetheless 

Keep 'em coming!

Figured it out! DANG this was hard, well done, @Pat_S
 

It's magnificently handled, isn't it? -- proof, I think, that as an arranger, which requires great sensitivity to accompaniment patterns and countermelodies, Williams is still in a class of its own.  (Also, notice how that little ostinato figure starts sounding a tiny bit like a motif from Rey's Theme towards the end?...)
 
All this this is to say nothing of the shifting tonal stations the theme visits along the way. 

2:13 -- Fm7
2:30 -- either Abm7/Gb or Ebm(6/9)/Gb (?)
2:38 -- Em9
2:45 -- Dm9(b6)
2:48 -- Gm9(b6)
2:51 -- Bbm9
3:02 -- Fm9
3:07 -- Cm7(11)
 
People have mentioned Sabrina, which is definitely a good point of comparison. I also am reminded a bit of stretches of Catch Me If You Can, that feature this kind of wandering, mostly minor-7th-based harmony. I'm so glad Williams had an opportunity to revisit this idiom, it's one of my favorites of his.
 
 

100% this.
 
Not to dismiss the impact of Tchaikovsky's Violin Concerto, or general melodic/harmonic vocabulary on Williams, but there are a half dozen or so pieces closer in sound and chronology to the Han Solo and the Princess that I'd argue are more likely models for the theme -- passages from Rachmaninoff, Gliere, Rózsa, Khachaturian, etc.. Granted, all of whom were influenced in turn by Tchaik! 

It's magnificently handled, isn't it? -- proof, I think, that as an arranger, which requires great sensitivity to accompaniment patterns and countermelodies, Williams is still in a class of its own.  (Also, notice how that little ostinato figure starts sounding a tiny bit like a motif from Rey's Theme towards the end?...)
 
All this this is to say nothing of the shifting tonal stations the theme visits along the way. 

2:13 -- Fm7
2:30 -- either Abm7/Gb or Ebm(6/9)/Gb (?)
2:38 -- Em9
2:45 -- Dm9(b6)
2:48 -- Gm9(b6)
2:51 -- Bbm9
3:02 -- Fm9
3:07 -- Cm7(11)
 
People have mentioned Sabrina, which is definitely a good point of comparison. I also am reminded a bit of stretches of Catch Me If You Can, that feature this kind of wandering, mostly minor-7th-based harmony. I'm so glad Williams had an opportunity to revisit this idiom, it's one of my favorites of his.
 
 

Thank you! Yeah, pretty lucky. My parents were not in the biz, but I had school friend with parents which were. 
 
We had family in from Philly once, and we must have seen 3 famous actors at dinner at a rib joint we liked, and our friends were going nuts. We were like "it's a quiet night." Not sure my parents were really that blasé, but they did not want my sister and me to think of those people as anything other than fellow people. Pretty cool lesson, really.
 
That being said, meeting John Williams a couple of times was definitely a highlight of my history. This image is from 2013 during the renaming of the USC Scoring Stage; it was moved from Steven Spielberg's to JW's as an 80th gift from Steven and George Lucas. I have an autographed copy that JW's agent got signed for me.
 

 

Thanks! My brother painted the mural years ago. On the other side of the same room he started a bigger one, which he still wants to finish one day. 

My first JW album was the Utah Symphony Star Wars Trilogy.  I think I bought it in 1992, along with a compilation of music from the first four ST films.  So, I guess I am 30 years into this as well--that is crazy.  Thank you for triggering my memory.  It was crazy over the next several years realizing that JW composed so much of the music that I had like during my early childhood.  Pre-internet days were different.  
 
I still remember a day from my junior year in high school.  I was in band, and we had finished our spring concert.  So, basically, we screwed around for the last week of the semester.  The band director disliked me (which in retrospect is all on me).  Anyway, I brought that CD to school and the band room had a really nice audio system with a CD player.  I was blasting SW through it.  The band director immediately came out of his office, walked over to the player, and just as I was expected him to turn it off and reprimand me, he adjusted the equalizer to better bring out the bass.  Great memory.   

As has been said already: Thank you for this post!
 
I suddenly realised it has been 30 years for me as well: Around this time of the year, 30 years ago, a soulmate if mine introduced me to the wonderful world of John Williams via his LP collection, and soon after I was exploring on my own. I still maintain this enormous binder full of articles, reviews, and pictures of John Williams as well as our travels to several concerts to this day...

Thanks, @Sandor, for kicking off the thread. And congrats on 30 years! Your collection looks amazing.
 
For sure my family had Fiddler on the Roof - cannot remember if that was ours or my grandparents' - but we had it and I played it. Of course, my awareness of John Williams was zilch as a 4-year old. I definitely saw Poseidon Adventure in the theater at a friend's birthday party when I was 5 (although I probably spent 33% of it in the lobby scared out of my mind). So, Star Wars in 1977 would be where I started collecting John Williams with the 8-Track Cassette version.
 
My first JW LP was Superman, given to us as part of a charity screening for my cousin's school, which was held at Warner Bros. What a glorious Saturday morning that was. It was the first movie I ever saw that started without previews (given it was at the studio theater). 2+ hours later, I believed a man could fly. We then had lunch in Hollywood on the way back from Burbank and ran into my school friend Tony Hooper. He had a Superman pin which he gave to me (and I still have) - he had just seen the movie at a screening as well. (I met his dad, Tobe, too, but I did not know he was a film director let alone would be making Poltergeist in a few years.)
 
Probably I had the LA Phil Star Wars-CE3K recording around then and the Gerhardt suites too.
 
My real active collecting came in 1980. For my Bar Mitzvah, family friends gave me a record/cassette/radio all-in-one unit with speakers. These were promptly wired all the way around my room along the ceiling and the speakers mounted high in my room. Those speakers are still there! Along with the hardware, I was also given a $100 gift certificate to Warehouse Records. The Empire Strikes Back was amongst the albums I got that day. I think I bought Jaws as well. 
 
So, how long have been at this? I guess you can round up to 50 years if you go back to Fiddler, but really I would say 45 years given that I actively lobbied my parents to buy that 8-track of Star Wars. And then to play it endlessly in the car.

Oh wow, that's cool!

My first soundtrack purchase was the 1993 Star Wars box set, which I got in 1994, so I guess my 30th anniversary is two years away!

In a couple of months, I'll be celebrating my '30th anniversary' of being a John Williams fan and collector.
 
Growing up with films like Star Wars, Indiana Jones and E.T., I've been intrigued by Williams' music since childhood, but it was during the Spring of 1993 that I became a true and devoted fan.
 
My life was very different 30 years ago. I was still living with my parents, attended the final year of high school, had hair on my head and I had no idea how my life was going to turn out. 
 
I look back on 30 years filled with significant events, ranging from wonderful to not so great. I became a teacher and headmaster, got married to a beautiful wife, bought a house, lost my stepfather and grandparents, traveled the world, became father to an autistic son and successfully overcame an episode of depression.
 
The music of John Williams has been an integral part of my personal journey and has always had a positive effect on me. 
 
Today I had some photos taken of my entire collection, something I've been wanting to do for years. I hope you will enjoy them and here's to the next 30 years!